Review: Wolf Alice – The Clearing

Releasing debut My Love Is Cool a decade ago, Wolf Alice emerged as a shining light in an otherwise floundering British guitar scene. Not that their success was in any way a short-lived flash in the pan. Each of their three albums to date have been nominated for a Mercury Price (with 2017’s Visions of Life winning the award), while a Brit Award win for Best British Group in 2022 proved rock wasn’t quite as dead in the mainstream as we were led to believe. 

So, four years after celebrated third effort Blue Weekend arrives The Clearing. Produced by Greg Kurstin in Los Angeles, the London fourpiece’s fourth record is their most assured and mature record yet, showcasing songwriting craft with a nuanced dive into ‘70s-inspired soft rock.

Gone are the distortion pedals and adolescent screaming. Arriving instead are pianos, acoustic guitars and added exposure on Ellie Rowsell’s vocal talents. The move away from their rawer, grungier sound feels like a natural progression for a band now in their 30s, one that comes with a willingness to develop as songwriters.

Theatrical lead single ‘Bloom Baby Bloom’ features jaunty pianos and has Rowsell at her enigmatic best. Here the Wolf Alice frontwoman wanted to “sing like Axl Rose, but to be singing a song about being a woman” and she perfectly utilises her voice as a performative rock instrument. ‘Just Two Girls’ is then a fun ‘70s Cali pop anthem, while the Americana inspired ‘Passenger Seat’ is a catchy earworm different to what we’ve heard before.

Wolf Alice thrive when producing tender love songs and ‘Leaning Against the Wall’ gives us a familiar slice of old. With an emotive spin on country-folk, the accompanying gentle synths and Joel Amey’s propulsive drumming ensures another intriguing highpoint.

Wolf Alice arguably save the best to last. Guitars gorgeously pluck on the folky ‘Midnight Song’ and are mixed with Rowsell’s pristine ethereal vocal delivery, while ‘White Horses’ is pure psych-folk perfection lead by Amey. To finish, the frontwoman then reflects on unrealised dreams on piano ballad closer ‘The Sofa’ – a closer appropriately grand and striking.

Not that the change up has been universally accepted by early fans. But, to their credit, standing still has never been on Wolf Alice’s repertoire. On The Clearing, they are calmer and more confident, producing the music they want over what is expected of them. Ellie Rowsell and co’s most accomplished and cohesive album yet.

5/5